Saramonic is launching the Saramonic SPRX9, a wireless microphone receiver, created to bring professional wireless UHF recording to smartphones. It works with the existing line Sarmanonic UwMic9 transmitters and provides lots of connectivity options for smartphones. We had a closer look.
The Saramonic SPRX9 can be used with two wireless UHF (ultra high frequency) lavalier microphone transmitters from the UwMic9 series simultaneously, providing mixing for the two separate channels, that will stay intact and separated when recording to iPhones.
The receiver will come in a handy kit, with connectivity options for smartphones: Lightning cable and a 3.5mm mini jack. Additionally there will be an mini XLR to XLR adapter included in the kit, that will provide phantom power to use your professional microphone with your smartphone. The Saramonic SPRX9 will also be able to output sound via 3.5mm mini jack and Micro USB.
The receiver’s size will fit the backside of a modern smartphone nicely and comes in at just 234g. It has an internal battery, that can be charged via a 5V DC input or USB-C. Signal to noise ratio is rather favorable at 70dB+, with distortion pretty low at 0.5% or less. Voice delay is 12ms.
Here’s an overview:
Wireless UHF receiver for smartphones
Works with Saramonic UwMic9 line of mics
Two separate channels with mixing, which stay intact when outputting to iPhone
3 cables included for Lightning, USB-C and 3.5mm mini jack connection
Output via 3.5mm mini jack and Micro USB
Phantom powered mini XLR, with XLR adapter included, to connect professional XLR mics to the receiver
Internal battery with USB-C charging
Signal to noise ratio 70dB+
Distortion < 0.5%
Voice delay 12ms
The Saramonix SPRX9 will be available in about a month’s time, pricing will be announced on Saramonic’s website.
Will you step up your audio game when working with your smartphone with the Saramonic SPRX9? Let us know in the comments!

Roland has introduced a new HD video switcher, the Roland V-60HD that supports 6 multi-format video inputs. In the era of YouTube and facebook live, this one might be interesting for many people with small productions as it uses your smartphone to become a smarter switcher.
The Roland V-60HD Switcher
The device has 6 video channels – 2 HDMI channels and 4 SDI channels with broadcast quality scalers on each input. An interesting feature is that the SDI inputs have a de-interlacer built-in, allowing users to mix and match 1080i and 1080p SDI video sources without external converters. It supports up to 1080p/60/50 as input & output formats.
The Roland V-60HD switcher also has 18 audio channels and introduces an interesting “auto-mixing” feature, that will automatically balance audio levels from multiple microphones and video sources. What makes it really special is that it works with smartphones and communicates via a wi-fi access point to replace traditional wired tally solutions. In theory it is possible to connect an unlimited number of smart devices to the switcher, in practice you probably won’t require more than 6, for obvious reasons.
Check out this official product video for a nice visual overview of what the switcher does:
Roland V-60HD Mixer from all angles
Roland V-60HD Key Specs
6 Multi-Format Channels from 6 Inputs (4 SDI, 2 HDMI)
Broadcast Quality Scaler on Each Input
Up to 1080p/60/50 Input & Output Formats
4:4:4 / 10-Bit Processing (4:2:2 Output)
HDMI Multi-Viewer Output
Compositing Engine
Built-In HDCP Mode
Audio Input Bus
Up to 25 Setting Configurations
The Roland V-60HD Switcher retails for a little under $3,000. It is available for pre-order now and is said to start shipping in Japan during December and in the rest of the world in 2018.

At NAB we took a closer look at the new Sound Devices MixPre-3 and MixPre-6 audio recorders that double as a usb-interface and bring pro audio to DSLR shooters. The MixPre Series in fact is Sound Devices’ first foray into the DSLR market. Small camera manufacturers tend to treat audio as a bit of an afterthought, but the MixPre promises to solve that with 8 tracks, WAV Poly format recording, high-quality preamps and a maximum sampling rate of 192kHz (MixPre-6). All the details and a full spec comparison below.
Sound Devices MixPre Audio Recorders
We originally reported on this announcement just before NAB, but thought we would visit the folks over at the Sound Devices booth to take a closer look at their new MixPre Series.
Sound Devices MixPre-6 Audio Recorder
Designed with small cameras such as the Panasonic GH5 or Sony a7S II in mind, both the Sound Devices MixPre-3 and Sound Devices MixPre-6 have Class-A mic preamps created by Sound Devices engineers. You can also feed timecode using the 3.5mm Aux/Mic in port, making it useful for professional productions where multiple cameras are in play.
Here is the intro video to the Sound Devices MixPre series:
The Sound Devices MixPre-6 is the larger of the two and features 6 inputs/8 tracks that can record to SD, SDHC or SDXC cards in WAV Poly. The base model (MixPre-3) has 3 inputs/5 tracks and a maximum sampling rate of 96kHZ, versus 192kHz for the larger model.
You can power the Sound Devices MixPre series audio recorders a variety of ways: directly from a wall, AAs, via USB, or via a Sony L-Series lithium ion battery. Both models can accept a sled for either 4 or 8 AAs (not included), giving you numerous options when it comes to powering the devices.
Below is a full comparison chat from Sound Devices that lays out all of the features in the Sound Devices MixPre-6 and Sound Devices MixPre-3:
What do you think? Will the MixPre Series find its way into your kit for your next DSLR production? Let us know below!

Saramonic has just released yet another audio device. This time, it’s a tiny 2-channel mixer with 48V phantom power designed for those mirrorless and DSLR cameras which lack a headphone jack, as well as for use with smartphones. Meet the Saramonic SmartRig Plus!
Saramonic SmartRig Plus
Shooting with small cameras these days can often be problematic when it comes to audio. Quite a few cameras lack a proper headphone jack and smartphones usually don’t have any audio section at all. The Saramonic lineup of affordable audio adapters and mixers are here to help tackle these issues. The new SmartRig Plus offers a lot of features for its form factor and price point, namely four inputs in a variety of different connectors, 48V phantom power and two output channels.
Features
In terms of connectivity, the SmartRig Plus doesn’t leave you in the rain. Two XLR combo inputs let you connect either a XLR source or a 1/4″ source per channel. On top of that, the unit is equipped with a 3.5mm mini jack input per channel, which adds lots of possibilities there. That way, it’s even possible to connect up to four sources at the same time, but remember that since the SmartRig Plus is a two-channel device, it will mix down two channels down to one respectively.
The gain on each channel can be adjusted individually with some decent sized knobs just like you would expect from a proper audio mixer. The incoming signals can be set to stereo, resulting in a baked in stereo file. When set to mono, though, each channel can be controlled independently.
48V phantom power can be switched on and off, and there is also a switch for setting up the output of the SmartRig Plus for camera or smartphone use. What this does is basically route the signal to the correct segments of the hard wired output mini jack, be it TRS (Tip-Ring-Sleeve) or TRRS (Tip-Ring-Ring-Sleeve) often used in smartphones. You can see the different type of connectors below.
comparison between TRS and TRRS style mini jack connectors
Next to the output cable, you can find the headphone jack which you so desperately miss on your Sony a6300 / Sony a6500! While being able to monitor your incoming audio, this headphone jack can also be used as a second output if you happen to need more than one outgoing signal.
The whole unit is powered off a single 9V battery which will last up to six hours. To mount the unit, there is a standard 1/4″-20 mounting point as well as some convenient strap holders attached to the bottom of the SmartRig Plus, allowing you to tie the unit to a tripod or handheld rig. Really nice!
Pricing and Availability
The Saramonic SmartRig Plus is available as of now, but stock still seems to be a bit limited. You may have to wait a few more weeks until you can pick it up at your retailer of choice. It is priced at $99.95. (a little bit less then the $120 Jennifer is mentioning in the video).
Read more about the SmartRig Plus on Saramonic’s website.
Are you struggling with decent audio quality on your existing cameras? Maybe this tiny thing can improve it, big time! What do you think? Let us know in the comments below.

If you’re a proud owner of a Sony a6300, you might be in desperate need of some sort of audio interface due to its lack of a headphone jack. Saramonic has your back here with the release of a very compact and very affordable audio mixer. Meet the Saramonic CaMixer.
The Saramonic CaMixer
This little audio interface could be just what you need if you’re after a a small, lightweight and affordable audio solution. Saramonic claims it is brand new, but actually it looks very familiar to me. Last year they released a very similar audio interface, the SmartMixer, intended to be used with smartphones. It’s a little more expensive, as it comes bundled with a smartphone holder and a grip. The new CaMixer comes in professional black rather than in consumer red.
Spot the dfference! Saramonic CaMixer (left) and SmartMixer (right)
Anyway, the functionality for a device like this is still very relevant, as a lot of smaller cameras like the Sony a6300 or even the freshly announced Sony a6500 lack a decent headphone jack for monitoring audio. You also get two detachable directional microphones plugged into 3.5mm mic inputs, a phantom powered mini XLR jack and of course an audio out port for connecting the Saramonic CaMixer to your camera. A lot of stuff for such a tiny preamp device, indeed.
The Saramonic CaMixer can be mounted directly on top of your DSLR or mirrorless camera via the built-in cold shoe. This setup could help you get the next run-and-gun interview right, taking out the guess work when it comes to audio. It’s a bit cheaper than it’s last year twin, since it’s just the mixer itself without any accessories except a provided mini XLR to XLR adapter and a mini jack output cable.
Back and front of the CaMixer. It’s powered via a standard 9V battery.
On the front side you can toggle 48V phantom power for the microphone inputs on and off and there is a built-in LCD display, too. This is a very handy feature for such a tiny device, as it helps keeping your camera screen real estate as uncluttered as possible. There’s a volume control too, of course.
We will take it for a test ride for sure, and I’m very curious how it performs in real life!
The CaMixer weights just 156g (5.5 oz) and is powered by a standard 9V battery. The device itself is $129 and it’s available for purchase directly via Saramonic, the smartphone version is available at B&H.
Might this tiny thing be your next upgrade in terms of audio? Let us know in the comments below!

The recently announced Zoom F4 Multitrack Field Recorder bridges the gap between their popular H6 and flagship F8 eight input models. Read more below.
The Zoom design team has been innovating in interesting directions lately, even adding cameras to their product lineup last year. The Zoom F4 Multitrack Field Recorder is a return to their indie-friendly audio mixer roots, with a compact 8-track/6-input design and portable in a 2.3lbs metal form factor.
Its capability to record for over seven and a half hours at 192 kHz in 24-bit stereo on SD/SDHC/SDXC in .WAV with a 32gb card means no card dumping until the end of the shoot day at least.
Featuring mic preamps of -127 Bu and the capability of adding up to 75 dB of gain, Zoom promises very low noise with +4 dB line-level inputs. You can record WAV at 44.1, 47.952, 48, 48.048, 88.2, 96, 192kHz, or MP3 at 128, 192, 320 kbps, 44.1/48 kHz. Two SD card slots can dual record, and dumping files is possible from a USB port without removing the cards.
Inputs:
Input 1-4: XLR-1/4″ / 6.35 mm combo jacks
Input 5-6: 1/8″ / 3.5 mm stereo mini jack
Each of the four Neurtik XLR/TRS connections has individual 24/48V phantom power capability. The mini jacks can be used for returning audio to the camera or for sending a feed to video village for monitoring.
Outputs:
Main: Balanced XLR (2-pin hot)
Sub Output: 1/8″ / 3.5 mm
Headphone: 1/4″ / 6.35 mm unbalanced stereo jack
Four locking XLR inputs on one side of the Zoom F4
Power options are numerous. Power the F4 from 8 AA batteries, an external DC battery pack, DC-HIROSE or a wall outlet power supply.
An unexpected bonus of the Zoom F4 is timecode. The ability to jam sync TC to such a compact device at a very friendly price point is a major plus. The F4 boasts a very precise Temperature Compensated Crystal Oscillator, or TCXO, that allows for 0.2ppm precision at the following frame rates: 23.976ND, 24ND, 25ND, 29.97ND, 29.97D, 30ND and 30D.
Zoom mic capsules can be added to the blue port in the image giving you added XLR or 3.5mm inputs as well as other customization options.
Camera operators have been enjoying more and more the freedom of modular camera designs and it’s good to see Zoom continuing to support their modular mic capsule adapters. You can easily add a wide variety of Zoom accessories with these mic capsules and here are just a few:
ECM-3 mic capsule extender cableMSH-6 mid-side mic capsuleSGH-6 shotgun mic capsuleSSH-6 stereo shotgun mic capsuleEXH-6 dual XLR/TRS combo input capsule
All of the mic capsule adapters can be used on the Zoom H5 and Zoom H6.
Zoom promises to bring many of our favorite features of the Zoom F8 to a wider audience of filmmakers with their new F4 MultiTrack Recorder.
Features of the Zoom F4 MultiTrack Field Recorder at a glance:
Six-input / eight-track field recorder with integrated mixer
Timecode (TC) with little potential for drift
Six inputs, including four XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
Weighs slightly over two pounds (without batteries)
High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
Two different power supply options: 8x AA batteries or external DC with 4-pin Hirose connector
Dedicated gain control knob with 6 individual LED level meters
Phantom power (+48V/+24V) on each preamp
On-board limiters for both input and output
Compatible with all Zoom mic capsules
1.9” white, backlit monochrome LCD
Dual SD/SDHC/SDXC card slots, up to 512GB each
WAV or MP3 file formats
Availability: B&H is accepting preorders now and for our European audience, head to CVP by clicking here.
Price: $649.99

The Tascam DR-100 MK III is the latest release by one of the industry leaders in field audio recording. It comes as a new update to their flagship DR-100 recording product line, and includes a couple of very nice upgrades that allow for recording of better and longer uninterrupted audio.
Long a favorite of DSLR shooters, Tascam recorders are widely known for their portability and being audio capture workhorses out on location. Look into any one-man-band kitbag out there and you’re very likely to find a Tascam recorder of some sort.
As opposed to the MK II, the Tascam DR-100 MK III allows for recording onto SDXC (not SDHC!) cards up to 128GB. Given the relative size of audio versus video files, you’ll likely be recording all week on a single card if you choose, although I would recommend offloading after each shoot day. You also see a bump up in file quality with the new 24-Bit/192 kHz option, where it’s predecessor only allowed for 24-Bit/96kHz recording.
A standout feature for me is the dual-battery design featuring a built-in lithium-ion rechargeable, as well as the normal capability to use AA batteries. This is perfect for long interviews or concerts: situations where you will want to swap batteries without halting recording.
The Tascam DR-100 MK III is also built around an aluminium frame, giving it some added drop protection in the field.
MAIN PRODUCT HIGHLIGHTS:
2 x XLR/TRS Combo Inputs
A second dual-record mode captures WAV and MP3 files simultaneously
Dual-battery design uses a built-in lithium-ion rechargeable and AA batteries for extended recording times
On-Board A/B Stereo Microphone
Records up to 24-Bit/192 kHz
Records to SDXC Cards up to 128GB
Aluminum Chasis
Low-noise HDDA microphone preamps
Phantom Power
The Tascam DR-100 MK III is available now from B&H HERE, or the link below.

A proper audio mixer is a feature that has been lacking so far in Final Cut Pro X. Also, Roles metadata keep your media organized, but it has always seemed that they could be better exploited. Could an FCPX Roles Audio Mixer be the answer?
Roles metadata in Apple’s Final Cut Pro X is a useful feature from the audio perspective, as it allows you to easily isolate the different audio “stems”. A very common use of this is removing the dialogue stem from the final export to deliver an international version of your project for dubbing. Roles also integrate with Logic Pro X—Apple’s music production software—which arranges clips on the mixer, according to their Roles upon importing the XML file.
However, it seems like Apple may actually be expanding functionality through a possible FCPX Roles Audio Mixer. A recently approved patent describes the use of metadata tags to identify and group audio signals for processing and metering. This pretty much describes the use of auxiliary buses on a traditional mixing desk, facilitated through the use of metadata.
An evident advantage of a feature like this could be additional audio meters for monitoring separate groups, rather than just relying on the master output. Additionally, having a single instance of an effect act upon a group of clips is much more efficient than having effects on individual items, freeing up CPU resources for other tasks.
Based on the documentation, it seems that clips within a nest will feed audio to their individual Roles bus, as well as to those assigned to their compound clip. This could potentially cause signals to end up in multiple unwanted locations. While traditional mixers and Digital Audio Workstations offer knobs to control how much of each signal we feed to our auxiliary buses, it will be interesting to see how Apple will implement this functionality without overcomplicating the minimalist FCPX GUI.
An FCPX Roles Audio Mixer would be a welcome addition to a future update. It would be ideal for reducing round-tripping between various programs for simple audio routing needs, and would certainly allow for more creative audio possibilities than what the software currently offers.
As a Final Cut Pro X user, would this implementation help your workflow?
via http://thefcpxeditor.tumblr.com/

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